From the Boston Herald:<P><BR> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR><B><A HREF="http://www.bostonherald.com/entertainment/arts_culture/corb11112000.htm" TARGET=_blank>Corbett beguiles with wry humor</A></B><BR>by Vicki Sanders, Boston Herald<P>There's a Cheshire Cat quality to almost everything choreographer Caitlin Corbett creates. The wry smile is there, visible in the surprising changes in direction, the abrupt stops and starts, the unexpected collapses to the floor. And that feeling of being in some sort of all-fall-down world where nothing is quite what it seems.<HR></BLOCKQUOTE><P><BR><B><A HREF="http://www.bostonherald.com/entertainment/arts_culture/corb11112000.htm" TARGET=_blank>The full article</A></B>

<BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>The dancers are loose-limbed and comfortable. They act as though executing the quirkily sophisticated movement were no more complicated than hopping out of bed in the morning.<HR></BLOCKQUOTE><P>Sounds like fun to do Ms. Corbett's dances.

From the Boston Globe:<P><B>Uplifting moves fill Corbett troupe's 'Jump'</B><P><BR>By Karen Campbell, Globe Correspondent, 12/8/2001<P> <BLOCKQUOTE><font size="1" face="Verdana, Arial">quote:</font><HR>A turn, a leap, the slow arc of an arm through space - as embodied by veteran dancer/choreographer Caitlin Corbett, all have a polished presence informed by control, precision, and clarity. As performed by Corbett's 12-year-old son, they have a guileless innocence, a raw immediacy. And that is the whole point behind Corbett's new ''Jump,'' a simple, poignant little exercise in unison movement that highlights the contrast between the trained dancer and the unfettered layman, the full-figured 40-something mother and the sweetly gangly child.<HR></BLOCKQUOTE><P> <BR><A HREF="http://www.boston.com/dailyglobe2/342/living/Uplifting_moves_fill_Corbett_troupe_s_Jump_+.shtml" TARGET=_blank><B>MORE...</B></A><p>[This message has been edited by Basheva (edited December 08, 2001).]

Christine Temin reviews Caitlin Corbett's new program in the Boston Globe:

Quote:

There are 30 dances on Caitlin Corbett 's new program. Don't let that alarm you: Some clock in at just a minute or so, and the entire performance is little more than an hour. The dances feel like unfinished movement sentences that leave you to fill in the gaps. Each is followed by a complete blackout, during which aspects of what you've just seen replay in your mind's eye. More...

A review of Caitlin Corbett's performance by Marcia Siegel in the Boston Phoenix:

Quote:

Unlike many postmodern dancers, Caitlin Corbett uses the word abstraction without shame. She makes movement structures that speak for themselves without any narrative justification, but she admits they can be read as behavior, too. Four women may be standing in a line and elbowing their arms around their heads, shrinking in and hugging themselves, turning together to make one step in another direction. As a movement phrase this has undertones of narcissism, perhaps, and of communal experience. Another viewer might sense a different meaning in it.

One of Boston’s foremost choreographers is entering her prime. All seven dances by Caitlin Corbett, shown last night at the Tower Auditorium, are examples of stunning organization and infinite expression. The path Corbett has decided to take after 20 years of meticulous work was most evident in three very different premieres.

Tonight and tomorrow, Boston-area audiences will have the chance to see the evolution of the Cambridge native’s intelligent, demanding aesthetic when her company presents its 20th-anniversary concert, a suite of 12 short dances, at Massachusetts College of Art’s Tower Auditorium.

AT TOWER AUDITORIUM at Massachusetts College of Art, Caitlin Corbett celebrated her 20th year of presenting dance in the Boston area. Corbett’s retrospective concert sampled older work and offered first performances of four new pieces. There wasn’t as much change as you might suppose over this span of decades, but what came across to me was a temperament very close to traditional, insistently reminding itself not to go there.

'Facts' is a moving spectacle....While the choreography, performed by six women from her company, expanded ordinary movements into ritualistic gestures, unison phrases, and a newfound flirtation with lyricism, ''Facts" was also decked out with a score of disparate spoken-word and music tracks from ''Lost and Safe" by the Books and with Ann Steuernagel's video collage, projected on a huge rear screen.

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